Eyeshadow palette for Light Spring
Her tiara would be woven gold and silver threads, with fairy lights twinkling throughout, blinking here and there.
The colouring is fragile, with an inner luminosity, like colours when there’s a rainbow in the sky, which is why I find it magical. The colouring is warm and personal, ethereal yet grounded.
Her eyes are gooseberry cream and green, like Bradley Cooper (from the movie, A Star Is Born), or blue with yellow, like Mark Hamill (from Star Wars), or softer and bluer, like Martin Clunes (from Doc Martin), or warm green and yellow, like the eye below.
Why examples of men? Because it’s easier to be objective about them, they look more natural in pictures with no (or less) makeup, and their hair is their own or closer to natural. (PS, I have no idea of these mens’ Seasons, they’re just here to give you visuals.)
Colour analysis in a nutshell
Coloured hair is misleading and always hidden under a gray scarf when we do your personal colour analysis (PCA). Chemical colour may alter the skin tone and the colour effects are compounded when cosmetics are chosen to work with the dye, not necessarily the person.
A person’s colours have a position on 3 sliders:
1, soft to clear (or bright, same meaning in this context)
2, warm to cool
3, light to dark.
For each of the 3 sliders, there are a few levels, say:
2, medium high
3, medium low
The combination determines which of the 12 Season groups best identifies the person’s natural colours.
I appreciate that we’re all #hereforthelipstick, but the habit to break may go a little deeper than lipstick. It’s the lost sense of seeing ourselves. A PCA is a journey inward and then back outward.
Back in business
At last, a palette.
My apologies for the prolonged absence. When a colour is discontinued in any of the cosmetic collections, I find alternatives, sometimes as good, sometimes better. Or we wait awhile, as with the current lipgloss absence in Dark Winter.
When the colour is part of a 5-colour sequence, if one goes down, the whole sequence goes down. The palettes are carefully orchestrated and the menu of colour choices is limited. So, we wait, consistent with the theme of 2020.
There’s always the edge of the seat tension when I place an order. If the email arrives, “we regret to inform you…”, it’s back to the drawing board. Autumn and Summer have more choices to work with. Winter grays and Spring’s clear warmth, fewer options.
What would her eyeshadow be like? Or not like, so the eyes are enhanced and more beautiful for the colours around them?
What would we paint beneath the tiara? In 12-Season colour analysis, Light Spring is the colouring that comes from a lot of Spring and a little Summer. Light Summer colouring is the reverse, less Spring, more Summer. For both Light Seasons, extremes take over, be they darkness, opacity, intensity, brightness, too much red, and bold glitter.
You can see the palette here in the shop on this site.
On the skin, colours may apply darker than they appear in the black shiny palette.
I look for a colour sequence in which each colour is lovely in its own right and colours can be mixed every which way. In the image below, you see the colours in the palette, with 3 mixed shades across the top, explained below.
3 colours stayed the same from the previous palette. One changed position from the middle to the end.
1: pearlized light ivory peach
2: matte light neutral cream beige (new)
3: soft pastel peachy pink matte (new)
4: pearlized to frosted, light charcoal with silver flecks
5: matte, muted warm taupe gray, like a coconut shell (moved from position 3 to 5)
The great thing about these palettes is what you can do with them. For all colours in all collections, picture them as paints. Mix colours together with one another and colours you already own for the effects you want. Blend the colour you want on your hand and apply, or combine them however you want in the same way you use the palette. I love the peach and green, and also the ivory, peach, and brown.
In the picture above, top row, left and middle are both mixtures of palette colours #2 and #4 in different proportions. The colour on the far right is a mix of #4 and #5. The colours are cotton-y, downy, tender, warm, and a little misty, all words uniquely befitting this Season.
New accent: Twisted
Colour is natural and easy on Springs. It’s often as good to define features as darkness, and it adds that little hit of excitement, like Springs do when they walk in the room. They have a natural can-do attitude that gold and green express beautifully.
I’ve seen this clear pine with light golden sheen in fabric and it’s superb. The LSp woman who wore the drape for us has light turquoise and yellow eyes and light-medium neutral brown hair with blonde highlights added.
When green appears in these eyes, it’s often this colour, as you can see from the swatches and the eye at the top. Some eyes appear cooler, some grayer, but this colour grew in the same garden and may look more natural than blue in eye makeup, depending on the effect you’re after.
You can visit Twisted here in the shop in this site. As you see from the pan to the swatch above, it applies lighter and softer than you might expect. Once too much red is added, colours move into Autumn but this is a nice, lightweight khaki that seems to fade or dilute in an Autumn palette. In the company of Spring colours, everything brings out the best in everything else. That’s what it’s all about.